Wednesday, April 28, 2010

Jazz Fest

Spent the weekend in glorious New Orleans. I used to spend a lot of time down there but haven't in awhile. Life just gets away from you and somehow I forgot the glories of Crawfish Bread and the Gospel Tent.

One of the highlights was after the fest heading uptown with my hosts Tyler and Leeds and seeing the Soul Rebels at Tippitinas. Suddenly, half way though the set the drummer announces a special guest from outer space. It can't be. Or could it. Sure enough George Clinton and Parliament swarm the stage.

Then I notice Paul Shaeffer from Letterman is jamming on the keys. It was insane.

But during FLASHLIGHT the techs at Tips pull the plug on George's mic and even Paul's keyboard cause they have a new band coming on. Pulling the plug on parliament? What are you insane? It's a goddamn crime.

But George doesn't give a shit and just keeps singing. Gotta hand it to Paul cause he kept jamming without electricity. Eventually they muscle 'em off. But before they leave my producer Scott Franklin managed to buy George a drink and document some proof.

Four dozen Oysters later, and two slices of Pecan Pie I am ready to return to the cut...

That sounds like quite an evening. I've wanted to check out New Orleans for a while now. It's amazing how strong the citizens have been since the hurricane. Overmyer and Simon's new show, Treme, really seems to capture the relentless aspect of the city. Have you seen Treme yet Darren?

Mr. Aronofsky please email me at vas.b92 at gmail dot com, I want to speak with you about making "Requiem For A Dream" into a dramatic theatre production. I have a script idea and it will closely follow the concept behind your film - I want to license the rights to call it by the name of your film. If you're interested, please get in touch with me.

Nottinghill Festival in London is good fun too. Saw the most dinosaur looking iron lions sitting on top of the woofers just starting at the crowd as the bass went VAVAVOOOOOOM. Aba shanti-i dub team dropping it hard style.

Hi there-Glad to hear George is back on his feet and in good spirits.By the way, I'm a big fan of all your films and thought you'd like to know about my new documentary about Coney Island's growing pains and the legacy of affordable amusements. Currently trying to get through some post-production financing so we can get it to festivals. You can watch a trailer and find out more over here:http://kck.st/9h4Xsx

Obviously if Aronofsky is the new Kubrick than he would give fuck all whether or not to follow a trend like Real Max, 3D or any other of that fucking bullshit. The first Robo didn't give a rats ass about shit like that and it's power obviously was not it technology but the death of the human and the rebirth of the synthetic, and how the human emotion surived. Anyone in their right mind knows that the real power of Robocop and not fucking bullshit Real Max. I give 70mm an "oh brother" and a "waaahhhh?".

Studying at the junior college level. Studying humanities. probably going to LA film school in the fall though, Gi bill's picking up the tab.

So i don't know anything about super 70mm. But i do know Von Trier is a bad mofo. And i do know 'Anti Christ' was filmed on the RED. And I do know somebody is going to have to empty some pockets for a Robocop film, and I do know that in the past DA has been short changed and still pulled off some of the greatest pursuits in film history by trying to answer the big questions, like Kubrick in that sense. And I do know Real Max is a distraction. And I do know that if the focus of another Robocop is not on the theme of the distillation of righteousness, and the toxicity of certain archetypal evil, than super 70mm doesn't mean jack and is a waste of resources and almost a sin considering something had to die to make celluloid. Which is probably why anything that is going to reach any real righteous artistic heights can NEVER be tainted with the death of something, especially when being using to transfer information about good vs evil. Hence why 'Antichrist' rocked the house. It strived to answer the big questions, and it used digital. Super 70mm celluloid, when you get down to calculating ethics, is an abomination. All the greatest greats, Van Gogh, Beethhoven, as far as I can tell, recorded their art with out the direct avoidable use of animal products. Call me a bleeding heart liberal but the proof is in the pudding. If you are going to even attempt to make something that causes the gods to weep, it better not be tainted with something as outrageous at a big fat greasy death coated piece of 70mm film.

The best natural look? Take a look at Antichrist and tell me that's not even better looking than nature, at least a noble attempt.

DA recently interviewed Boyle on Slum Dog and DA knows about digital. Slum was was a typical story, probably not as interesting as Fountain or Black Swan, but it had a little kick to it. The righteousness of digital. Perhaps digital takes the challenge out of film making though, perhaps it's more of a thrill to keep track of how much stock you have left, and the pressure is on to get the very best takes. Perhaps celluloid causes an otherwise unattainable level of subconscious focus from cast and crew. But that's where the story should be enough for everyone to be compelled to do their best. I don't know, 70 will probably give the best look. Far and Away was hyped by it and it was not remembered for it, and the world could end tomorrow so who gives a crap we're all just gambling on the rapture at this point. I'm just saying 16mm will get the point across and that's all that matters. Hollywoods life blood is the story, and if Real Max or any of that other bullcrap is a distraction from the art or a cheaping of it, then its a kiss of death to any real art film maker. Composition doesn't give a crap how much definition is provided, unless the story calls for it, framing only cares if you can say something without muttering a word. There was more than enough definition in Requiems format to get the point across, besides maybe DA just likes to work with his DP buddy from school and if the DP says we have to go Real Max or whatever then that's the mission. Film history doesn't give a crap. It's all about getting on to the criterion shelf in a shanty hipster dive video store, not onto an IMAX screen.

@ robocop btw i'm not a vegitarian. But I know Robocop was. He ate straight up apple sause baby food, the meal of the righteous. I think though that Robocop's character on some level was somekind of sacrifical lamb on steriods. most films about the crucifixtion always start at the hand, and some roman stepping on the arm, just like the scene when Murphy gets his hand blown off. Could be a conisidense, but the Robocop film had some trippy layers to it. Murphy's partner was like a Mary Magdalin on steroids. But maybe that's just all the archetypes at work.

About anti christ, as you said it was a noble attempt with the red Camara by Lars Von Trier, but i think he failed with his Red Camara the whole picture looked if it was a documantary made by CNN news, if you watch a movie made on film you will notice the warmth of the movie (picture) you can't get this if you shoot the movie with digital camara's (Never)

There was maybe a few sequences in Antichrist, mainly of the cabin in day light, or the forest, that had that ugly video look.

But you failed to criticize my other example of Slum Dog. Did that look like CNN?

I think we need to be honest and say that for the sake of story, format doesn't matter. I think as a director though, like any other kind of pilot during a journey, be it captain of a steam boat or capsule to the moon, the one thing that gives you an indirect boner is knowing you pulled the thing off (no pun) judging and using the correct amount of coal, jet fuel or celluloid in this case. Or maybe it boils down to knowing that celluloid is more tangible, more present in this world than digital, that's to say, you never have to, as much with film that is, worry of a digital glitch or power failure that just lost you a take you know you can never repeat. Even the fear of such an event would put you off digital. But the resolution of film being unbeatable argument is weak, and at some point digital will be able to mimic the randomness of those little silver crack particles certain artists count on. You have to at least acknowledge that the patterns of technology in history, from the horse to the Apache helicopter, have shown that stuff just gets out dated. You want to be the one on the wrong side of the learning curve? Be my guest. Have a good mother's day.

HI! my friend Bob Love, yes The Bob Love of Rolling Stone Mag, just came out with an amazing book that I think would make a great "Aronofsky" movie, The Great Ohm, the real beginning of Yoga, not what people thought. A guy getting rich girls into weird positions and a Lot of fooling around in the 20's. How fun would that be?

Mr. Aronofsky, I wasn't sure which is the best way to contact you, but I have just finished reading a book for about the millionth time which is ideal for a film treatment and would be a good vehicle for Mr. Rourke. The book is THE BALLAD OF FRANKIE SILVER by Sharyn McCrumb and it is about a true murder trial in North Carolina in the 1830s. I wouldn't suggest it if I didn't think that you could direct it and Mr. Rourke could handle playing the part of Frankie Silver's father/Fate Harkryder. Frankie Silver was the first woman hanged in North Carolina. She was hanged for killing her husband Charlie Silver. It is more likely that she didn't kill her husband and that she died to protect another family member. I hope you will consider this book for a film as it is a truly powerful story. Also, may I suggest Emmy Lou Harris for the part of Nora Bonesteel? She has the grace and the presence to bring that woman to life. I wish you well. Your servant, Mary Rhudy

Mr. Aronofsky, Concerning my post about the book, THE BALLAD OF FRANKIE SILVER, I would also consider casting jodelle Ferland for the part of Frankie Silver. She has shown herself to have tremendous sense of self and balance and strength and could very easily handle a part this challenging. Your servant, Mary Rhudy

I follow you and your movies since so many years and i hope i will have the chance to meet you one day.

I've been traveling to the Requiem for a Dream-house in December...and i felt so great when i finally found it, after running around in Brighton Beach. It was so nice to be there. I even stepped into the house for a bit. Now i'm searching for the Tree of Life...hehe

Hey Darren, I just googled "film directors" and clicked on your name, not knowing at all that you produced The Fountain. I heard great reviews on it but never saw it since I don't have the $.Please forgive this barging in. . . I was hoping to reach you by email to ask if you might be interested in screen writing /producing a film about a mystically inclined girl-child who grows up and becomes a full-fledged 'walker of both worlds'. Her soul's awakening journey is as wonderful as it is painful. Just a thought... but I can imagine that one with an eye for a good story could sift through the mass her 'life stories' to produce a "true story" which I think has the potential to be one of those very inspiring 'spiritual' films. I think if folks knew for certain that we have a 'spirit body' they wouldn't be afraid of death.

Good morning Mr. Darren Aronofsky,my name is Fabio Pedrotti and I'm getting a degree in Cinema disciplines at the university of Bologna Italy.I'm writing a Thesis named"Gnosticism and Ancient Misteries in the Cinema fiction", hoping also to publish it later within a masonic publishing house. Well, I really love your filmography and I'll surely write about "The Tree of Life" in my work.I would be really glad if it was possible to make to you some questions inheriting the death and renewal of man symbolized on many plans in this movie.. You'll surely know what Eleusis and Memphis were and obviously you are aware that the story you created is really related to that sacred knowledge, so you'll imagine what kind of questions I'm going to ask you.I don't know where to write you so I've chosen this contest, even if I don't think that it's the proper place to speak with you, but that's it..Hoping that you will read this message, I thank you very much.See you soonFabio p.s. excuse my inevitable grammatical mistakes, I'm italian.. :)

hello mr. Aronofsky. I'm from iran and even in this shithole we see your masterpieces and everyone we see falls in love with your movies and we all beleive that you would be in near future the greatest american director alive( even better than coens!!!). because you have never and we mean NEVER a bullshit movie and you won't. please don't fall in love with hollywood and always be the one who made REQUIEM FOR A DREAM! say greetings to your lovely wife and be sure that we will know you as the new stanley kubrick at max in the next decade cause you will deserve it.

A bit of off-topic. Just knew Satoshi Kon died yesterday. I've heard you admired his work, and that you even bought the rights for "Perfect Blue" when you were shooting "Requiem for a dream". I'm curious about that, don't know if you knew about his dead. It would be nice to know what your relationship was (Did you ever meet in person?).

I admire the work of you two so I just thought of letting me hang in here and see if you wanted to just share some words about this other master who died too soon.

I just saw the trailer of "Black Swann" too, wishing to see it allready!

There is a movie I would love to see made, so this is a free for nothing idea just in case there is a screenwriter and/or director out there with a fondness for epics, particularly since it would be a perfect vehicle for Hugh Jackman (think on the level of Lawrence of Arabia).

The character General William Grant. The event: The Australian cavalry charge at Beersheba during WW I. The historical background on the man and the events can be found at:

http://www.adb.online.anu.edu.au/biogs/A090081b.htm for the biography

http://www.lancers.org.au/site/1st_Gaza-Beersheba.asp for the event

This is a description, photograph, and outline of the charge on Beersheba. As to story arc, I found the details on General Grants family that he left behind: Wife: Eveline Ryan Woolcott Grant

I'm about to speak at a local church here in Vancouver, and I'll be discussing the merits of 3 of your films (The Wrestler, The Fountain, and Requiem).

I have one question for you: how are you able to inject such uncompromising realism into ALL of the characters in your films?

It's this realism that I'll be speaking on, so it would be absolutely amazing to get your direct take on that. Obviously you're a busy man, so I have no expectations. Good luck with post-production on 'Black Swan', we'll all be there opening night.

Hi Mr. Aronofsky,this is Stella Toppan, the Italian actress you met at the Apple store last Thursday.

I just wanted to thank you for the time and consideration you gave me, it meant a lot to me.I truly love your films and I think you are a fascinating artist.

I would be grateful for any feedback you'd be willing to give on my reel, positive or negative. stella.toppan@gmail.comActually what I really want is to be your muse, but I'd settle for the feedback :) I can't believe I just said that, but as Anna Karina said in Godard's "Vivre sa Vie", "I've always wanted to be someone's muse".

Hi Mr Aronofsky, found your blog after watching 'Black Swan'... a great film... (I haven't finished watching it yet, but-) I haven't seen anything like this for a *long* time, fantastic cinema... Have fallen in love with film again! So, yeah, well done :)

Just got back from seeing Black Swan. I doubt that this really Aronofsky's blog but I desperately need to tell him or somebody what a masterpiece I thought the film was. I never see films more than once but this one I will see again. At least best actress, best director for this film. If not, the oscars are truly a sham.

one more 24 images per second, always the same, by 0/1 23 making 6 plus the triangle being 9 never reaching 1 by 1/3+2/3 with 6+3.i d like to know why u darren and friends in holly wood are doing it. congratulations for your "pi movie"; it is the biggest monument ever to the glory of the 132 thus 1.no doubt Darren knows the square of three as the number stated in 63 13 18 the right way. not the blue "what is blue?" B:. shiters so called perfection: ho i saw a square cloud in the sky. "lol" they say, "I'M OK".

get in touch, my brother and myself would be so glad to talk with someone. skype is soltin.tine

I love your films. And think you are one of the best directors in the world. Every your film is the happening in the movie world.

I am young cinema director and script writer. I would like to offer you my movie ideas. I know you cant show your email to public. Can somebody of your command contact with me? It will be doing myself very happy! Please... give my ideas 5-10 minutes of your time. At first I will show them in short synopses view.

My email: komediant777@gmal.com

For the present I am nobody in cinematographic. But I live with the big love to movie... as viewer and director. Movie is my passion!

Hi Darren, huge congratulations to the "Black Swan", a great movie. You're a wonderful director. And you're a nice man, sensitive. I admire you. Do not get long to wait for another film, ok? The best greetings. Marzena

Please reconsider on "The Wolverine." You have no idea how many people were keyed up to see you refresh that character. The first film was simply awful and there's no doubt in my mind that you would make a tent-pole flick for the slowly waning superhero genre.

This post isn't any sort of solicitation of a film idea, a script, or anything of that nature. I simply (and very urgently) have a few questions about Black Swan that I'm dying (literally) to ask you. I find that your films are rather philosophical in nature, and I often wonder how much of that latent philosophy in your films is truly deliberate, and how much of it is perhaps an artistic or aesthetic technicality (not so deliberate).

For example, Black Swan seems to me rather Nietzschean in its nature. It seems to me to allude to a sort of violent apotheosis and inevitable natural evolution of human nature, and even an almost latent natural religiosity or religious quality within that evolution (perhaps a sort of naturally occurring determinism residing within some legitimate apotheosis of nature?)

Also, I wonder about the title. Was it conscious on your part that such a title, Black Swan, alludes to the philosophical and mathematical metaphor of the so-called Black Swan theory, which essentially posits the idea that there are certain rare, statistically uncertain yet significant, unpredictable, improbable, and highly volatile events, things, realities, etc. that deterministically produce a larger and more profound effect and influence than regular, numerous, and "normal" (superficially certain and probable) occurrences, realities, etc.? And also, that this irregular and exceedingly volatile (and improbable?) pattern and scheme is actually the lifeblood and natural reality of true evolution of anything (say, of fear, or of being), which is, for lack of a better word, "apotheotic" in nature (apotheosis)?

Lastly, but not least, I see sociological elements that seem to emanate from the story and the plot of your film. For example, was it a coincidence that Nina dies (commits suicide) in the full ecstasy and exaltation of her immaculate performance on the stage, performing for the stage of the world, in front of the spectators, as a kind of Christ-like sociological crucifixion (Christ essentially committed suicide? For the world?)

Furthermore, that, essentially, there is real value and truth and honesty and power in believing in your own God-like invincibility-- however, the price (sociological price?) a human being pays for this religiosity and apotheosis of Self and Individuation in a world that has its own familiar reality is a kind of sociological crucifixion at the nihilistic hands of a more common, imperfect, and impure (that is, fundamentally unnatural and unevolving) type of existence which defines and reflects and encapsulates "the world as representation", even "the theater stage of the world", at any given moment in time or history. Again, was this all conscious on your part or else do I need to seek a psychological examination?

I hope to God (no pun intended) that you read this message and communicate with me regarding the wonders above on your film Black Swan. Thank you.

Dear Mr. Aronofsky,I wrote a book about communist father conducting experiments on his own son. Thought you will be interested in making a film. contact me by email: shageldi.tm@hotmail.com.Sincerely,Shageldi

I'm rather certain you won't read this, but I just got done watching Black Swan, and having undergone and written published books and stories about psychosis, it could have been brushed up by further research into the phenomena called Schizophrenia (not that I didn't like it). Once again, I'm sure you are very busy, but if you type in "Jacob Howell Writer" there are a series of published first-hand accounts of psychosis from myself. Sorry to bother you, but thought it might be informative.

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Welcome back to your Blog. The very first words of your movie Pi begin with “Nine, Thirteen”. How/why did you begin with that? I work for one of the most respected Market Timers on Wall Street and the core of his analysis is based on these two numbers. I am just curious. Please respond. Thanks

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